Rules of Costume Tradition

In the early days, opera costumes were mainly made of wool or coarse cloth; later, satin, crepe and silk were used, decorated with various meticulously embroidered patterns. The making of opera costumes is a special and unique stagecraft. The costume box first appeared in the Ming Dynasty (1368-1644), and was greatly improved in the Qing Dynasty (1644-1911).
(1) Anachronisms are allowable. A performer's costume primarily designates his or her role on the stage no matter when or where the action takes place. Characters, whether they are from ancient times or in pre-modern China, appear on the Chinese opera stage wearing costumes suitable to their roles.
(2) Regardless of which season is being depicted in performance, the opera costume is the same. Weather is described in every scene and must be made clear by the actor's movements, rather than his clothing.
(3) Peking Opera costumes must enable the audience to distinguish a character's sex and status at first glance. In terms of symbolism, Peking Opera costumes have its social hierarchy -- noble or humble, civilian or military, official or private citizens.
(4) By means of a subtle difference, opera costumes often give expression to sharp distinctions between good and evil or, preferably, loyal and wicked characters. Oblong Wings (chizi) attached to a gauze hat indicate a loyal official. In contrast, a corrupt official is made to wear a gauze hat with rhomboidal wings.
(5) Baldrics, though apparently of little or no account as compared with such principal items as crowns and robes, may nevertheless function to bring about more dramatic effects on the stage. For instance, the wings attached to a hat, the plumes (lingzi) pinned to a helmet and the cascading sleeves (shuixiu) sewn to a garment accentuate movement even if they have little practical use.